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Laboratorio de Arte最新文献

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Una propuesta de atribución del retablo mayor de la capilla de San José de Sevilla a Francisco de Acosta el Mayor. 将塞维利亚圣jose教堂的主祭坛归属于弗朗西斯科·德·阿科斯塔市长的建议。
IF 0.1
Laboratorio de Arte Pub Date : 2019-01-01 DOI: 10.12795/la.2019.i31.26
Á. Recio Mir
{"title":"Una propuesta de atribución del retablo mayor de la capilla de San José de Sevilla a Francisco de Acosta el Mayor.","authors":"Á. Recio Mir","doi":"10.12795/la.2019.i31.26","DOIUrl":"https://doi.org/10.12795/la.2019.i31.26","url":null,"abstract":"","PeriodicalId":43219,"journal":{"name":"Laboratorio de Arte","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66085362","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Retórica visual y formas del barro en los relieves de Miguel Perrin de la catedral de Sevilla. 塞维利亚大教堂米格尔·佩林浮雕中的视觉修辞和泥泞形式。
IF 0.1
Laboratorio de Arte Pub Date : 2019-01-01 DOI: 10.12795/la.2019.i31.05
Teresa Laguna Paúl
{"title":"Retórica visual y formas del barro en los relieves de Miguel Perrin de la catedral de Sevilla.","authors":"Teresa Laguna Paúl","doi":"10.12795/la.2019.i31.05","DOIUrl":"https://doi.org/10.12795/la.2019.i31.05","url":null,"abstract":"","PeriodicalId":43219,"journal":{"name":"Laboratorio de Arte","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66083854","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Diego de Riaño y la sacristía mayor de la catedral de Sevilla: nuevas consideraciones sobre su autoría. 迭戈·德·里亚诺和塞维利亚大教堂的圣器收藏室:对其作者身份的新思考。
IF 0.1
Laboratorio de Arte Pub Date : 2019-01-01 DOI: 10.12795/la.2019.i31.06
J. Estévez, Antonio Luis Ampliato Briones
{"title":"Diego de Riaño y la sacristía mayor de la catedral de Sevilla: nuevas consideraciones sobre su autoría.","authors":"J. Estévez, Antonio Luis Ampliato Briones","doi":"10.12795/la.2019.i31.06","DOIUrl":"https://doi.org/10.12795/la.2019.i31.06","url":null,"abstract":"espanolEste articulo trata de reconstruir la biografia del comerciante y bodeguero del siglo XIX Diego de Agreda Domine, sevillano de nacimiento pero afincado en Jerez de la Frontera. Para ello, se recopila la informacion publicada sobre el y se aportan nuevos datos procedentes de fuentes documentales y prensa periodica. Se presta especial atencion a su actividad artistica como pintor aficionado de paisajes, autor de trazas arquitectonicas y primer fotografo de la provincia de Cadiz. Ademas, se aportan nuevos datos sobre su formacion, y se anade la informacion sobre dos descendientes suyos que tambien desempenaron tareas artisticas. EnglishThis paper aims to complete the biography of the wine merchant of the 19th century Diego de Agreda Domine, born in Sevilla but settled in Jerez de la Frontera. For this purpose, information published about him is compiled and new information from documentary sources and periodical press is provided. Special attention is paid to his artistic activity, as amateur landscapes painter, architectonical designs author and first photographer of the province of Cadiz. In addition, new data about his formation are provided, and information is given about two of their descendants who also developed artistic tasks","PeriodicalId":43219,"journal":{"name":"Laboratorio de Arte","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66083920","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 2
El sagrario de la catedral de Ávila: un tabernacolo italiano en España. 阿维拉大教堂的圣堂:西班牙的意大利神龛。
IF 0.1
Laboratorio de Arte Pub Date : 2019-01-01 DOI: 10.12795/la.2019.i31.04
Ismael Mont Muñoz
{"title":"El sagrario de la catedral de Ávila: un tabernacolo italiano en España.","authors":"Ismael Mont Muñoz","doi":"10.12795/la.2019.i31.04","DOIUrl":"https://doi.org/10.12795/la.2019.i31.04","url":null,"abstract":"espanolVasco de la Zarza ha pasado a la Historia del Arte como uno de los introductores de la escultura del Renacimiento italiano en Espana. Actualmente, solo conocemos trabajos suyos dentro de las fronteras espanolas, pero la estrecha vinculacion que presentan con el arte italiano ha permitido plantear la hipotesis de que estuvo en Italia. Una de sus obras cumbres es el sagrario del retablo mayor de la catedral de Avila. La excepcionalidad de esta pieza se debe a su valor artistico, historico, iconografico y simbolico. Pero ademas de todo ello, destaca porque sigue un modelo de sagrario unico en la Espana de su epoca, que nos remite directamente a piezas italianas, tema que no ha sido tratado con anterioridad EnglishVasco de la Zarza has gone down in History of Art as one of the initiators of Italian Renaissance sculpture in Spain. All the works we know are within the Spanish borders, but the close relation they have with Italian art has allowed us to hypothesize he was in Italy. One of his masterpieces is the tabernacle of the main altarpiece of the Cathedral of Avila. The exceptionality of this piece of art is due to its artistic, historical, iconographic and symbolic value. In addition, it stands out because it follows a model of a unique tabernacle in the Spain of its time, which refers us directly to Italian pieces, a subject that hasn’t been treated before.","PeriodicalId":43219,"journal":{"name":"Laboratorio de Arte","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66084110","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Dos retratos pictóricos de Pablo de Céspedes en Sevilla. 巴勃罗·德cespedes在塞维利亚的两幅肖像。
IF 0.1
Laboratorio de Arte Pub Date : 2019-01-01 DOI: 10.12795/la.2019.i31.14
Pedro M. Martínez Lara
{"title":"Dos retratos pictóricos de Pablo de Céspedes en Sevilla.","authors":"Pedro M. Martínez Lara","doi":"10.12795/la.2019.i31.14","DOIUrl":"https://doi.org/10.12795/la.2019.i31.14","url":null,"abstract":"","PeriodicalId":43219,"journal":{"name":"Laboratorio de Arte","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66084547","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Dando de comer a Cristo y bendiciendo la mesa: entre Francisco Pacheco y el joven Diego Velázquez. 《喂养基督和祝福餐桌:弗朗西斯科·帕切科和年轻的迭戈之间》velazquez。
IF 0.1
Laboratorio de Arte Pub Date : 2019-01-01 DOI: 10.12795/la.2019.i31.15
Fernando Marías
{"title":"Dando de comer a Cristo y bendiciendo la mesa: entre Francisco Pacheco y el joven Diego Velázquez.","authors":"Fernando Marías","doi":"10.12795/la.2019.i31.15","DOIUrl":"https://doi.org/10.12795/la.2019.i31.15","url":null,"abstract":"espanolEste articulo estudia el lienzo de Francisco Pacheco Cristo servido por los angeles (Castres, Musee Goya) en relacion con su precedente de Pablo de Cespedes, sus fuentes textuales religiosas y su funcion liturgica para la bendicion de la mesa en el refectorio de un convento femenino. Tambien senala la presencia de una pieza de loza identica a la que aparece en La educacion de la Virgen de la Yale University Art Gallery de New Haven, reforzando la atribucion del fragmento frances y el lienzo americano al joven discipulo de Pacheco, Diego Velazquez EnglishThis essay analyzes Francisco Pacheco’s Christ Served by the Angels in the Wilderness at Castres Musee Goya, in relationship with Pablo de Cespedes’s earlier canvas, its religious textual sources and its liturgical function in a nunnery refectory for the blessing at the table. It will also point out the presence of a piece of earthenware that is identical to young Velazquez one in the Yale University Art Gallery The Education of the Virgin; both fragments would reinforce the attribution of the detail and the canvas to Pacheco’s disciple","PeriodicalId":43219,"journal":{"name":"Laboratorio de Arte","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66084652","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
Algunas notas sobre La ronda de pan y huevo de Luis Tristán (1624) y su copia anónima (1660). 一些笔记关于路易斯的圆面包和鸡蛋特里斯坦(1624)和匿名的拷贝(1660)。
IF 0.1
Laboratorio de Arte Pub Date : 2019-01-01 DOI: 10.12795/la.2019.i31.16
Alejandro López Álvarez
{"title":"Algunas notas sobre La ronda de pan y huevo de Luis Tristán (1624) y su copia anónima (1660).","authors":"Alejandro López Álvarez","doi":"10.12795/la.2019.i31.16","DOIUrl":"https://doi.org/10.12795/la.2019.i31.16","url":null,"abstract":"","PeriodicalId":43219,"journal":{"name":"Laboratorio de Arte","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66084730","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
La sustitución del retablo mayor del monasterio de San Leandro de Sevilla y su promotora doña Teresa de Anguiano y Cárdenas. 替换塞维利亚圣莱安德罗修道院的主祭坛和它的发起人dona Teresa de Anguiano y cardenas。
IF 0.1
Laboratorio de Arte Pub Date : 2019-01-01 DOI: 10.12795/la.2019.i31.41
Salvador Guijo Pérez
{"title":"La sustitución del retablo mayor del monasterio de San Leandro de Sevilla y su promotora doña Teresa de Anguiano y Cárdenas.","authors":"Salvador Guijo Pérez","doi":"10.12795/la.2019.i31.41","DOIUrl":"https://doi.org/10.12795/la.2019.i31.41","url":null,"abstract":"espanolEl articulo versa sobre la sustitucion del retablo mayor del siglo XVI del Real Monasterio de San Leandro de Sevilla tras la entrada en el mismo de la religiosa dona Teresa de Anguiano y Cardenas a mediados del siglo XVIII. Para la realizacion del mismo es preciso estudiar el retablo sustituido, asi como la evolucion del mismo. Todo ello se realiza principalmente a partir de la documentacion inedita del monasterio. Tras dicho estudio podemos analizar el contexto en el que se generaban las obras de arte, asi como las condiciones y obligaciones de los contratantes. EnglishThe paper deals with the replacement of the 16th century altarpiece of the Royal Monastery of San Leandro in Seville, after the entrance of the religious Teresa de Anguiano y Cardenas, in the mid18th century. For the realization of the same it is necessary to study the substituted altarpiece, as well as the evolution of it. All this is done mainly from the original documentation of the Monastery. After this study we can analyze the context in which the works of art were generated, as well as the conditions and obligations of the contractors.","PeriodicalId":43219,"journal":{"name":"Laboratorio de Arte","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66085976","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 2
Una obra de iluminación del pintor Juan Carlos Ruiz Gijón. 画家胡安·卡洛斯·鲁伊斯的照明作品gijon。
IF 0.1
Laboratorio de Arte Pub Date : 2019-01-01 DOI: 10.12795/la.2019.i31.39
Rosario Marchena Hidalgo
{"title":"Una obra de iluminación del pintor Juan Carlos Ruiz Gijón.","authors":"Rosario Marchena Hidalgo","doi":"10.12795/la.2019.i31.39","DOIUrl":"https://doi.org/10.12795/la.2019.i31.39","url":null,"abstract":"","PeriodicalId":43219,"journal":{"name":"Laboratorio de Arte","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66085867","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Otra Piedad de Jacob Jordaens en la iglesia de Santo Domingo de Sanlúcar de Barrameda (Cádiz). 雅各布·乔丹斯在圣卢卡德巴拉米达圣多明各教堂的另一个虔诚(cadiz)。
IF 0.1
Laboratorio de Arte Pub Date : 2019-01-01 DOI: 10.12795/la.2019.i31.38
Matías Díaz Padrón
{"title":"Otra Piedad de Jacob Jordaens en la iglesia de Santo Domingo de Sanlúcar de Barrameda (Cádiz).","authors":"Matías Díaz Padrón","doi":"10.12795/la.2019.i31.38","DOIUrl":"https://doi.org/10.12795/la.2019.i31.38","url":null,"abstract":"","PeriodicalId":43219,"journal":{"name":"Laboratorio de Arte","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66085824","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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